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12/2/2020 Form9 AC4 02/12/2020 1/20 ANNEXURE
12/2/2020 Form9_AC4_02/12/2020 ANNEXURE 5.8 (CHAPTER V, PARA 25) FORM 9 List of Applicaons for inclusion received in Form 6 Designated locaon identy (where applicaons Constuency (Assembly/£Parliamentary): Thiruvallur Revision identy have been received) From date To date @ 2. Period of applicaons (covered in this list) 1. List number 01/12/2020 01/12/2020 3. Place of hearing* Serial Name of Father / Mother / $ Date of Date of Time of number Name of claimant Husband and Place of residence of receipt hearing* hearing* (Relaonship)# applicaon NAVANEETHAKRISHNAN 1 01/12/2020 KARUNAMOORTHY (F) 15, KANTHASAMY STREET, THANDURAI, , Thiruvallur 38, Saraswathi nagar,murugappa 2 01/12/2020 MARKET MERY ARUL DOSS (H) 5, thirumullaivoyal, , Thiruvallur 3 01/12/2020 SUJATHA R RAVI (H) NO 150, JAGAJEEVAN RAM STREET, TIRUR, , Thiruvallur 4 01/12/2020 NADHIYA BEGUM P PREM KUMAR (H) NO 107, AMBEDKAR STREET, VENGATHUR VILLAGE, , Thiruvallur 10, SANNATHI STREET, 5 01/12/2020 NARESH M DEVI (M) THIRUVERKADU, THIRUVERKADU, , Thiruvallur No 28, 2nd Street Periyakasi Koil Kuppam , Ernavoor 6 01/12/2020 Kughan Kuppusamy (F) Kavakkam, , Thiruvallur SABEENA HALEMA 30,SRI BALAJI 7 01/12/2020 MOHAMED SIRAJ SIRAJ (H) HALEMA NAGAR, PALLAKAZHANI, THIRUVALLUR, , Thiruvallur 8 01/12/2020 JANAKI LAKSHMI KANTHAN (F) 50/30, BHARATHIYAR STREET , PERIYAKKUPPAM, , Thiruvallur 9 01/12/2020 NARAYANAN P PALANI PALANI KOTHANDAPANI (F) 133, P H ROAD, ONDIKUPPAM, , Thiruvallur NO 43/580 F, ANNA STREET, RAJAJIPURAM , 10 01/12/2020 ESWARAMOORTHY P H P HARIKRISHNAN (F) KAMARAJAPURAM, ,
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ANNEXURE 5.8 (CHAPTER V , PARA 25) FORM 9 List of Applications For
ANNEXURE 5.8 (CHAPTER V , PARA 25) FORM 9 List of Applications for inclusion received in Form 6 Designated location identity (where Constituency (Assembly/£Parliamentary): Salem (West) Revision identity applications have been received) 1. List number@ 2. Period of applications (covered in this list) From date To date 16/11/2020 16/11/2020 3. Place of hearing * Serial number$ Date of receipt Name of claimant Name of Place of residence Date of Time of of application Father/Mother/ hearing* hearing* Husband and (Relationship)# 1 16/11/2020 Lokeshwaran K Kumar A (F) 1/39, Vinayagar kovil street, Sarkarkollapatty, , 2 16/11/2020 Malar Palanisamy (W) 3/242A, Arunthathiyar Street, Saminaickenpatti, , 3 16/11/2020 Malar Palanisamy (W) 3/242A, Arunthathiyar Street, Saminaickenpatti, , 4 16/11/2020 sathyasree sri kumari i (M) 3/168 , kannagi street,jagirammapalayam , salem, , 5 16/11/2020 PRIYANKA SELVAM (F) 5/33-C, AVVAI NAGAR, JAGIR AMMAPALAYAM, , 6 16/11/2020 PRITHIKA SELVAM (F) 5/33/C, AVVAI NAGAR, JAGIR AMMAPALAYAM, , 7 16/11/2020 Santhiya Chinnathambi (H) 210, Aadidravidar Colony, Chellapillaikuttai, , 8 16/11/2020 BHUVANESHWARI SARAVANAN (H) 3 736, NAYAKKAR KATTUVALAVU, KOTTAGOUNDAMPATTY, , 9 16/11/2020 CHANDRAKALA V VENKATACHALAM (H) 1/97, JAGADESH NAGAR, PERIYA MOTTUR, , 10 16/11/2020 Palanisamy Madhu (F) 3/242A, Arunthathiyar Street, Saminaickenpatti, , 11 16/11/2020 SANTHOSHKUMAR CHINNADURAI (F) 164A, NETHAJI NAGAR, CHINNADURAI JAGIR AMMAPALAYAM, , 12 16/11/2020 nathiya saravanan (H) 4, krishnanputhur colony, karukkalvadi, , 13 16/11/2020
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The Case of Tamil Nadu
CINEMATIC CHARISMA AS A POLITICAL GATEWAY IN SOUTH INDIA: THE CASE OF TAMIL NADU Dhamu Pongiyannan, MA Submitted to the Faculty of Humanities and Social Sciences In fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) at The University of Adelaide 2012 Table of Contents Table of Contents ............................................................................................................... i List of Figures .................................................................................................................. iv Abstract............. ............................................................................................................... vi Declaration. ..................................................................................................................... vii Acknowledgements ........................................................................................................ viii Dedication....... ............................................................................................................... viii Situating Tamil Nadu in the Subcontinent ........................................................................ x Preface................ ............................................................................................................. xi Introduction ....................................................................................................................... 1 Ordinary Tamils, extraordinary celebrity devotion .................................................
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Tamil Nadu Government Gazette
© [Regd. No. TN/CCN/467/2012-14. GOVERNMENT OF TAMIL NADU [R. Dis. No. 197/2009. 2018 [Price: Rs. 20.00 Paise. TAMIL NADU GOVERNMENT GAZETTE PUBLISHED BY AUTHORITY No. 30] CHENNAI, WEDNESDAY, JULY 25, 2018 Aadi 9, Vilambi, Thiruvalluvar Aandu – 2049 Part VI—Section 4 Advertisements by private individuals and private institutions CONTENTS PRIVATE ADVERTISEMENTS Pages. Change of Names .. 1229-1277 Notice .. 1277 NOTICE NO LEGAL RESPONSIBILITY IS ACCEPTED FOR THE PUBLICATION OF ADVERTISEMENTS REGARDING CHANGE OF NAME IN THE TAMIL NADU GOVERNMENT GAZETTE. PERSONS NOTIFYING THE CHANGES WILL REMAIN SOLELY RESPONSIBLE FOR THE LEGAL CONSEQUENCES AND ALSO FOR ANY OTHER MISREPRESENTATION, ETC. (By Order) Director of Stationery and Printing. CHANGE OF NAMES 17818. My son, P Kaarthi, born on 30th November 2012 17821. I, A. Kannan, son of Thiru Ammasi, born on (native district: Sivakasi), residing at No. 4/303, Thaai 1st May 1974 (native district: Virudhunagar), residing at Nagar, Anupanadi, Madurai-625 009, shall henceforth be No. 4/77, Viracholan, Pathanakurichi, Thirusuli known as P KARTHI Taluk, Virudhunagar-626 612, shall henceforth be known as A. BALU S PAUNVELMURUGAN A. è‡í¡ Madurai, 16th July 2018. (Father) Virudhunagar, 16th July 2018. 17819. My daughter, D. Dasniya, born on 12th September 17822. My daughter, T. Tharanyadevi, daughter of Thiru 2003 (native district: Dindigul), residing at No. 59, Kakkathoppu S. Thangaramu, born on 17th June 2017 (native district: South, Kalanampatti Post, Agaram, Dindigul-624 709, Madurai), residing at No. 4/1, North Street, T. Paraipatti, shall henceforth be known as D. DHARSHINI Peraiyur Taluk, Madurai-625 705, shall henceforth be C.
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Rajinikanth and the “Regional Blockbuster”
Rajinikanth and the “Regional Blockbuster” * S. V. Srinivas Introduction In the recent past, Tamil and Telugu films have managed to find aud- iences beyond the southern region and have also competed with the biggest Hindi films in Hindi cinema’s traditional markets in northern and western India. A subset of these films are big-budget spectaculars, which I would like to call regional blockbusters. This term flags the critical import- ance of developments in the south Indian region and film industries for the emergence of relatively new production and narrative regimes which raise interesting questions of value—of films as commodities and stars alike.1 In the pages that follow, I trace the evolution of this form to argue that it is symptomatic of a fundamental transformation of industrial- political logics of south Indian cinemas, whose most visible manifest- ations so far have been the star politician and fan clubs. I propose that Rajinikanth is a useful point of entry into the discussion of the regional blockbuster because he belongs to a small number of Indian superstars who were a part of the very problem that the blockbuster attempts to overcome and, at the same time, a valuable asset for it. By tracking the career of Rajinikanth, I propose to show how crucial this star in par- ticular, but also the south Indian star vehicle known as the “mass film,” is the condition of possibility for a form that may or may not use major stars. The paper is divided into two parts. The first elaborates on the blockbuster as a descriptive-analytical category and shows why it is use- fully seen not just as a global form but also a regional phenomenon, pred- icated on locally specific historical contingencies as well industrial-aes- thetic practices.
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Madurai District [ Revised Fee Structure for Appealed Schools ]
08 - MADURAI DISTRICT [ REVISED FEE STRUCTURE FOR APPEALED SCHOOLS ] S.No C.Code School Name LKG UKG I II III IV V VI VII VIII IX X XI XII Y.M.C.A. NURSERY & PRIMARY SCHOOL, 1 08001 4500 4500 4850 4850 4850 4850 4850 - - - - - - - 100, ANNA NAGAR,, MADURAI - 20, SRI RAMAKRISHNA MATH SARADA VIDYALAYA, 2 08002 RESERVE LINE, NEW NATHAM ROAD, 4050 4050 4850 4850 4850 4850 4850 - - - - - - - MADURAI -14 ANITHA NURSERY AND PRIMARY SCHOOL, 50E SINGARAYAR COLONY, 3 08003 1950 1950 2250 2250 2250 2250 2250 - - - - - - - SOUTH STREET, NARIMEDU, MADURAI-625 002 Y.W.C.A NURSERY AND PRIMARY SCHOOL, 4 08004 NO.8 PRASAD ROAD, NARIMEDU, 3800 3800 4150 4150 4150 4150 4150 - - - - - - - MADURAI-625 002 ARUN UDHAYA NURSERY AND PRIMARY SCHOOL, 5 08005 NO.55 PTR MAIN ROAD, NARI MEDU, 2700 2700 3850 3850 3850 3850 3850 - - - - - - - MADURAI-625 002 KALAIMALAR NURSERY & PRIMARY SCHOOL, 6 08007 PONNAGARAM, 63A, WEB CHURCH ROAD,, 2500 2500 3250 3250 3250 3250 3250 - - - - - - - PONNAGARAM, MADURAI - 16, PRIYA NURSERY & PRIMARY SCHOOL, 19, 4TH CROSS STREET, 7 08008 KRISHNAPURAM COLONY, 2400 2400 2600 2600 2600 2600 2600 - - - - - - - MADURAI - 625 014. PHOENIX NURSERY & PRIMARY SCHOOL, 8 08009 9, SINGARAVELAR FIRST STREET, 4150 4150 4450 4450 4450 4450 4450 - - - - - - - K.PUDUR, MADURAI - 7, SIVAA NURSERY & PRIMARY SCHOOL, 9 08010 SELLUR, 1, AHIMSAPURAM 2ND STREET, 1000 1000 1150 1150 1150 1150 1150 - - - - - - - MADURAI 2, Note:- NF - There is no Recognition, Hence No Fee is Fixed. 08 - MADURAI DISTRICT [ REVISED FEE STRUCTURE FOR APPEALED SCHOOLS ] S.No C.Code
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AR.Rehman Tamil List
AR.rehman Tamil list Alaipayuthey/Sakhi/Saathiya – Train Scene – Mini BGM – Piano Notes Alaipayuthey/Sakhi/Saathiya – Train Scene – Mini BGM – Piano Notes – (Sargam) Nenjam Ellaam Kaathal – Piano Tutorials – Video Nenjam Ellaam Kaathal – Piano Tutorials – Video – (SAREGAMA) Roja Love Theme – BGM – Piano Tutorials – Video Roja Love Theme – BGM – Piano Tutorials – Video – (Sargam) Bombay Love BGM – (Pasani) Piano Tutorials Bombay Love BGM – (Pasani) Piano Tutorials – (Sargam) Mukkala mukabula laila o laila – Piano Tutorials (Tamil) Mukkala mukabula laila o laila – Piano Tutorials (Tamil) – (SAREGAMA) Urvasi Urvasi – Piano Tutorials – Tamil – Notes Urvasi Urvasi – Piano Tutorials – Tamil – Notes – (SAREGAMA) Senapathy Love Theme – BGM – Piano Tutorials – Indian/Bharateeydu/Hindustani Movie – Senapathy Love Theme – BGM – Piano Tutorials – Indian/Bharateeydu/Hindustani Movie – (Sargam) Bombay Theme – Main Version – BGM (Piano Tutorials) Bombay Theme – Main Version – BGM (Piano Tutorials) – (Sargam) Antha Arabik Kadaloaram – Piano Tutorials – Notes – Video Antha Arabik Kadaloaram – Piano Tutorials – Notes – Video – (SAREGAMA) Indian/Bharateeydu/Hindustani Movie – (Manisha Intro) – Piano Tutorials Indian/Bharateeydu/Hindustani Movie – (Manisha Intro) – Piano Tutorials – (Sargam) Indian/Bharateeydu/Hindustani Movie – Manisha Love(2) – Piano Notes Indian/Bharateeydu/Hindustani Movie – Manisha Love(2) – Piano Notes – (Sargam) Indian/Bharateeydu/Hindustani Movie – Manisha Love(1) Piano Notes Indian/Bharateeydu/Hindustani Movie – Manisha Love(1)
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Rajinikanth and the “Regional Blockbuster”
Rajinikanth and the “Regional Blockbuster” * S. V. Srinivas Introduction In the recent past, Tamil and Telugu films have managed to find aud- iences beyond the southern region and have also competed with the biggest Hindi films in Hindi cinema’s traditional markets in northern and western India. A subset of these films are big-budget spectaculars, which I would like to call regional blockbusters. This term flags the critical import- ance of developments in the south Indian region and film industries for the emergence of relatively new production and narrative regimes which raise interesting questions of value—of films as commodities and stars alike.1 In the pages that follow, I trace the evolution of this form to argue that it is symptomatic of a fundamental transformation of industrial- political logics of south Indian cinemas, whose most visible manifest- ations so far have been the star politician and fan clubs. I propose that Rajinikanth is a useful point of entry into the discussion of the regional blockbuster because he belongs to a small number of Indian superstars who were a part of the very problem that the blockbuster attempts to overcome and, at the same time, a valuable asset for it. By tracking the career of Rajinikanth, I propose to show how crucial this star in par- ticular, but also the south Indian star vehicle known as the “mass film,” is the condition of possibility for a form that may or may not use major stars. The paper is divided into two parts. The first elaborates on the blockbuster as a descriptive-analytical category and shows why it is use- fully seen not just as a global form but also a regional phenomenon, pred- icated on locally specific historical contingencies as well industrial-aes- thetic practices.
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Female Body and Male Heroism in South Indian Cinema: a Special Reference to Telugu Cinema
================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 18:6 June 2018 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ================================================================ Female Body and Male Heroism in South Indian Cinema: A Special Reference to Telugu Cinema Dr. Krishna Sankar Kusuma ==================================================================== Abstract South Indian cinema presents different aesthetics, themes, and stories when compared to Hindi cinema. The unique characteristics of Southern cinema include fans and fan clubs, cinema, politics, devotional and folklore genres, and so on. Heroism that exists in regional cinema in India is highly characterised by male dominance. The main aim of the paper is to understand and analyse the representation of the female lead roles in Telugu cinema over the years. There are very few female actors who could achieve the status of female lead roles to the stardom on par with male actors. The paper explores depiction and use of female body and male heroism in Telugu and other South Indian languages cinema. In the midst of male-dominated industry, the paper analyses female actors’ depiction in Telugu and other South Indian movies. Keywords: South Indian Cinema, Heroism, Female body, Telugu Cinema, female actors, Indian cinema, male lead roles, male-centered movies Introduction Heroism is a significant factor that is present in all movie industries regardless of their geographical location. In fact, the notions of ‘Hero’ and ‘Heroism’ are closely associated with all the film industries in India. Whether it is Bombay cinema or four cinema industries in South India, heroism has become an important phenomenon over the years. Patriarchal and Male-Centric Most films are predominantly patriarchal and have their themes around male-centric ego.
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Padayappa Tamil Songs Free Download
Padayappa tamil songs free download LINK TO DOWNLOAD Listen to all Padayappa songs now! Download or play Padayappa songs online on JioSaavn. Tamil movie featuring Rajinikanth, Soundarya and music by A.R. Rahman. Rajini Padayappa Mp3 Song Download Telugu Mp3 Songs Free Download [MB], Download Rajini Padayappa Mp3 Song Download Mp3 Songs for Free. Rajini Padayappa Mp3 Song Download MP3 Telugu Song and listen to Rajini Padayappa Mp3 Song Download popular song . Padayappa Tamil Mp3 Song Download Telugu Mp3 Songs Free Download [MB], Download Padayappa Tamil Mp3 Song Download Mp3 Songs for Free. Padayappa Tamil Mp3 Song Download MP3 Telugu Song and listen to Padayappa Tamil Mp3 Song Download popular song . Padayappa Mp3 Song Download In Masstamilan Telugu Mp3 Songs Free Download [MB], Download Padayappa Mp3 Song Download In Masstamilan Mp3 Songs for Free. Padayappa Mp3 Song Download In Masstamilan MP3 Telugu Song and listen to Padayappa Mp3 Song Download In Masstamilan popular song on Brown Folk Fest. Padayappa Mp3 Songs Download Kuttyweb Telugu Mp3 Songs Free Download [MB], Download Padayappa Mp3 Songs Download Kuttyweb Mp3 Songs for Free. Padayappa Mp3 Songs Download Kuttyweb MP3 Telugu Song and listen to Padayappa Mp3 Songs Download Kuttyweb popular song on Brown Folk Fest. Listen and download to an exclusive collection of padayappa ringtones for free to personalize your iPhone or Android device. Kollywood Songs: Rajini Hits Padayappa Songs 1. En Peru Padaiyappa renuzap.podarokideal.rubramaniyam 2. Minsara Penn Poove Nithyashree, Srinivas 3. renuzap.podarokideal.ru. Kikku Febi Mani, Mano 4. Suthi Suthi Harini Sudhakar, renuzap.podarokideal.rubramaniyam 5. Theme Music Instrumental 6.
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P.Susheela Concert in Chicago 1999.Xlsx
INDIAN REPORTER FRIDAY, JUNE 25, 1999 35 Grand Tamil and Telugu Light Music Concert by Minu Kannan HICAGO - On June 12, Balaji Temple cultural members arranged a grand Tamil and Telugu light music concert at Taft High School Auditorium in Chicago. The main artist Kalaimamani, Sangeetha Sarawathi Dr. P.Susheela was accompanied by C.S.Ainkaran and playback singer Ramakrishna. The program began with a wonderful devotional song "Saravana Poigayil" by Dr. P.Susheela. This was followed by "Shirdi Sai Baba Bajan," sung by Ramakrishna. Ainkaran and Dr.P.Susheela sang lovely duets such as "Roya Malare ", " Naalaam Naalaam ", " Muthu Mani Maalai ", etc. The song "Thaen Sindudae Vanam " was sung in Tamil by Dr.P.Susheela dominated the Tamil and Telugu films music scene as a Ainkaran and in Telugu by Dr.P.Susheela, alternatively. playback singer for over 48 years. Sri. Ainkaran is a Midwest resident and outstanding light musician. he The Telugu song "Kubu Kubu Kae" was nicely sung by conducts very successful programs all over the U.S . He is a highly- Ramakrishna and Dr.P.Susheela. sought-after performer. The song "Venilavae" from Minsarakanavu sung by Ainkaran Sri. Ramakrishna is a leading Telugu playback singer and he is endowed and Rama and "Suthi Suthi" from Padayappa sung by with a rich and melodious voice and often compared to the Legendary Ainkaran and Pavithra were impressive. "Ghandasala." He has been singing since 1972. Dr. P.Susheela also sang Raga Malika together with The master of ceremony Mr. C.S.Baskaran introduced everybody on Ramakrishna. The program lasted for four hours.
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Clothing the Marriageable Tamil Women Ranjani Krishnakumar [email protected]
Of marriages and families: clothing the marriageable Tamil women Ranjani Krishnakumar Vol. 2, No. 3, pp. 74–99 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 74 Vol. 2, No. 3, pp. 74–99 Of marriages and families: clothing the marriageable Tamil women Ranjani Krishnakumar [email protected] The secondary role played by women in Tamil films – both on and off screen – has been widely discussed in journalistic circles and academia. Nair’s assertion that in Indian films ‘women exist only in relation to the men, as their mothers, their wives, and especially their lovers’ is true of Tamil film narratives too (Jain and Rai 2002: 52). This portrayal of women has led to her social and cultural identity relying heavily, if not solely, on her being able to marry the right man. Moreover, the highly gendered Indian nationalism, relegating women to the ‘inner sphere’ and expecting them to remain pure (Chatterjee 1993), vests the responsibility of upholding culture in women, often subjecting them to standards higher than those set for men, the ‘outer sphere’. Weidman (2005: 754) adds that not only is inner sphere versus outer sphere a matter of men versus women but ‘as a difference between kinds of women: the respectable middle-class “family woman” and the lower class “prostitute”’, establishing idealised notions of womanhood that are manifested in tangible ways such as acceptable behaviour, appropriate language and appreciable clothing. In this paper, I explore the role of clothing in cinema in establishing such an identity for a Tamil woman over the years.
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